The Ultimate Affinity Tool Builders guide to the Affinity suite | Jeremy Hazel | Skillshare

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The Ultimate Affinity Tool Builders guide to the Affinity suite

teacher avatar Jeremy Hazel, Education Through Creation

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

82 Lessons (9h 45m)
    • 1. Section 1 -Introduction to the Skillshare course

    • 2. What are digital tools and where do we find them

    • 3. What tools are we going to make and what does the pipeline look like

    • 4. Making your first digital tool

    • 5. How to reverse engineer the tool

    • 6. How to do your market research and define your value

    • 7. Section 2 Introduction to the section

    • 8. What are vector brushes and what are they used for

    • 9. Making Brushes - intensity vs Image brushes and How to export both

    • 10. When to use Intensity vs image brushes

    • 11. Tools we wil use to create vector brushes

    • 12. Making physical strokes on paper

    • 13. Scanning and adjusting the image

    • 14. Basic Brush settings and troubleshooting

    • 15. Where to go to get Vector Brush inspiration

    • 16. Making vector brushes in Affinity Designer

    • 17. Applying your vector brushes in a real life project

    • 18. Applying your vector brushes in a real life project

    • 19. Section 3 Introduction to the section

    • 20. What is a raster based brush and what is it used for

    • 21. Basic Brush settings Part 1

    • 22. Basic Brush settings part 2

    • 23. Where to go to get images for raster based brushes

    • 24. Making a shadier set from Concrete

    • 25. Making a seamess texture in Affinity Designer

    • 26. Making a seamless texture in Affinity Photo

    • 27. Workng in half tones with Affinity Designer

    • 28. Workign with half tones in Affinity Photo

    • 29. Making a spray brush using multiple nozzle tips

    • 30. Making a flame brush using sub brushes

    • 31. Shading the snake

    • 32. Section 4 Introduction to the section

    • 33. What is a texture vs an overlay

    • 34. 3 places to find textures

    • 35. Making hand drawn textures

    • 36. Scanning and adjusting Textures

    • 37. Vectorizing textures

    • 38. Making half tone overlays in Affinity PHOTO

    • 39. Shooting and making textures in Affinity

    • 40. Section 5 Introduction to this section

    • 41. What is an asset pack

    • 42. Isolating and vectorizing assets part 1

    • 43. Manually creating assets and making categories

    • 44. Public domain and Vectoring assets for packs

    • 45. Creating Pallets in Affinity Designer

    • 46. Creating styles in Affinity Designer

    • 47. Finishing the snake

    • 48. Section 6 Introduction the section

    • 49. Making Flare brushes in Hitfilm Express

    • 50. Finishing the flare brush in Affinity

    • 51. Making smoke and Fog brushes

    • 52. Making fog brushes in Affinity Photo

    • 53. Making a lightning pack

    • 54. Making particle brushes

    • 55. Making debris brushes

    • 56. Making flame brushes

    • 57. Making Paper tear brushes

    • 58. Working with styles in Affinity Photo

    • 59. Making magic effect styles in Affinity

    • 60. Section 7 Introduction to the section

    • 61. What is a gradients for use in photos

    • 62. Making color pallets from physical objects

    • 63. Making Luts in Affinity

    • 64. Making studio lights in Affinity

    • 65. What is an overlay as I define it

    • 66. Making Overlays in Hitfilm Express

    • 67. Making Atmospheric overlays

    • 68. Section 8 Introduction to this section

    • 69. Setting up and shooting poster mock up

    • 70. Layering the poster mock-up

    • 71. Adding Shadows and masking the poster mock up

    • 72. Adding images to the poster mock up

    • 73. Shooting and Laying out the window lit mock up

    • 74. Adding window light and finishing the mock up

    • 75. Embedded images lesson 1

    • 76. Utilizing embedded images in the poster from the course

    • 77. Section 9 Introduction to the section

    • 78. Setting up the atmosphere and inserting the mandala

    • 79. Working with glow, adding sparks and lightning

    • 80. Adding light and texture

    • 81. Color grading

    • 82. Section 10 -Outro

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About This Class

As we know custom tools add a completely new aspect to an artist's work, and there are ton of people out there creating why aren't you?

  • Are you competent in the Affinity products of Photo and / or Designer, but not sure how to go about making your own tool?
  • Are you not sure what to make, how to develop them...or even what the steps are to make your own tools?
  • Or maybe you are in interested in trading or one day selling your tools to those that are fans and follow your work... then this one is for you

I have been teaching the affinity Suite now for over 3 years to thousands of students and I want to put the power to create with this amazing software in your hands....along with so much more.

In this course we will utilize the affinity suite of products ( Designer and Photo) to create the following digital tools

  • Brushes (both Vector and Raster)
  • Overlays
  • Textures
  • Asset Packs
  • Gradients, LUTS, and Pallets
  • Mock ups
  • and so much more ....

What sort of software and projects will be complete

We will be using Affinity Designer and Photo , but we are also going to be using a free software from FX home called HITFILM EXPRESS to bring the world of CGI into play when we make our tools, and as a totally optional piece of my workflow I will be showing you how I use Vector Magic to create vectorized textures for use  in larger from concept to finished tool, you see the entire pipeline we use to create professional tools for use in Affinity 

In this course we make the tools and apply them to 2 real life step by step projects....ONE BEING AN ILLUSTRATION , the other is a FULLY RENDERED PHOTO COMPOSITE .... if you don't have BOTH Affinity Programs, no worries , easily 90% of the course content is applicable to BOTH software systems, so you will never feel like the course is geared toward one or the other

What kinds of topics are in the course
We polled Affinity users from some of the largest forums out there and asked them what they wanted to know when it came to tool building ...and then we crammed it into this course , included in the course are topics on

  • Smoke and Flame brushes
  • Halftone brushes
  • Mock up creation
  • hand drawn strokes converted into vector brushes
  • Faking studio lights
  • Gradient pallets for color grading techniques 

What level of experience do you need to take this course

While this is not a beginner course, you do not need a  high level of Affinity knowledge to take this course, and as long as you know the basics you will be fine .... HOWEVER  if you are new to digital art ( i.e. if you do not know what a mask layer or a blend mode are) , then this may not be a good fit for you

What will you achieve when you complete the course?

  • You get 2 of my professional brush packs that we DID NOT MAKE in the course, just for being part of it
  • You get all of the source files, brush files and you will have a complete set of digital tools made and customized by you ...for you
  • You will have student support through the platform
  • You will have completed 2 projects, one illustration and one composition

Overall this is the course out there I wish I had when I got started , and I am proud to share it with you ..enjoy

Meet Your Teacher

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Jeremy Hazel

Education Through Creation


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1. Section 1 -Introduction to the Skillshare course: Vara ageing and welcome to skill share. Now, as skill share is a project-based course, I want to start off by sharing with you what you're going to get out of taking this course with us. We're gonna be making a complete set of digital tools which includes textures, overlays, vector brushes, raster brushes, Lutz, lights, and everything in between. Now, not only are you going to be accomplishing these tools which you do not have to upload. But we're going to be applying these tools in these two projects. So these two projects that I'm showing here on the screen, that is the expected deliverable for this skill share class. So not only will you get the tool packs, but you're going to learn how to apply the tool packs value make including say this half tone brush into a project like this. Or taking the lightning brushes that you made here and applying them over to a project like this. Now, some of the downloads for this class are very large, so they wouldn't necessarily fit in the platform. So there are links to the google drive in the description for this class. There are arranged by section. And so go ahead and follow the link in the description to get the downloads because there was no way to zip them in order to put them onto the Skill Share platform. Other than that, I'm very excited about this class and I think we're going to have a great time. We're going to be building all the tools in the affinity suite that you're going to need. Now, the software that's used in this class, full disclosure. You've got Affinity Photo and Affinity Designer. Now, if you have one or the other, you will be able to accomplish 90% of all of the lessons. So you'll still be able to develop all the packs and the tools for your software. Best-case scenario, you have both. And we're going to be introducing HD filled express. So it is a free desktop software for video editing and special effects compositing that I use all the time. So I'm excited to bring that to you. And occasionally through the lessons, if you so choose, we will be utilizing a program called the vector magic, which is a paid program to vectorize. Now, if you're familiar with vectorization, you know that you can utilize the pen tool to vectorize. So I'm gonna show you how I use it. But it is not required for this class. But I wanted to kind of give you all the software that we're going to be working with in this skill share class. So if you're interested in creating a complete set of tools and creating these two projects which you can then upload and I'll definitely critique. Go ahead and continue on. And I hope to see you inside. Let's go ahead and get started. 2. What are digital tools and where do we find them : Alright folks, and welcome to this course on utilizing digital tools. Now, this is really exciting for me. This is quite frankly one of the best courses that I have ever created. And this is really the culmination of three years of working with the affinity sweet in order to develop my methods for creating these tools. So what I wanna do in this lesson is I just want to kind of show you what a digital tool is and what you'd expect. Because even if you just have a cell phone, you don't need a formal camera. You don't even necessarily even need to camera to create many these beautiful tools. So I'm going to be here with you throughout this. I wanna do a little bit of face to face with him, but I also want to show you some places online where you can go to see exactly what all is in this realm. Let's go ahead and get started. Alright folks, and welcome to our course here. This is going to be an introductory lesson on what digital tools are. Now for those that have been around a digital game awhile, you know about digital tools. Digital tools are those things that artists use to create the art that they make. So as an artist, you can always go the hard route and you can recreate affects every single time from scratch. But in order to save time, in order to make your time efficient, and also to bring in some really awesome effects that you may not think about. Digital tools are used and purchased by artists to aid in their workflow. So the first question that I get asked all the time, where to go to find different digital tools and what's out there. Because if you're going to build a toolbox and that's how I'm going to be referring to it through the course is a toolbox. You have to do a certain amount of research. So what I wanted to do, first of all, I wanted to kind of show you some of the tools that were out there. Now, in all fairness, I do not get reimbursed, compensated, or anything for any of the resources that I'm about to show you. This is how I do my research. I get no kickback when anything like this. So it's one of those things. These are sites that I like to use. People that I like to follow. Do your own research. Alright, let's go ahead and just take a look at where to get some of these resources, right? What are they? So a lot of times you'll find these four Photoshop primarily, but there are a lot of affinity ones and there are a lot that are universal. This particular person, Renae Robin, is somebody that I follow. She does a lot of Photoshop style composites, and I really loved the way that she does or fire. So you can get pre-done fire packs from a variety of artists. Now there's also something called the textures. Textures are used as an overlay on to certain images to create a certain color scheme in this area, or to create a certain field that you want. You can also get different digital tools that have background packs. I've used one in this image. So if we were to take this and now I'm gonna Affinity Photo, but it works the same in designer. And I was to clip away everything in here. This photo is just me taken against a green screen. And this is actually from a photo shoot that I did in Chicago underneath the bridge. So digital tools can be used to enhance any type of a photo and there's a ton out there. Don't limit yourself to one thing or two things. But what I would tell you is make something that you like. Now, the same thing is true for illustration artists. Tattoo Smart is a site that I like to use there I'm a tattoo artist or was at least for 20 years. I just took it out a couple years ago. And I use procreate as well as affinity. So I like to use some of their tools in illustrations. So they sell brush packs, stencils, that sort of thing. Now, you can use brushes in a variety ways. As an example, in this course, we're going to be making this half tone texture for the snake. Now, everything that we're going to use in this course, I'm going to show you how to make every single brush that I used is here. So that edge here, that texture that's vectorized. Every one of these ink dots that I'm clicking off is vectorized. Notice the edge that I just took off. Plus we've got this texture. We've got the half-tones screen that we're gonna take off. We've got the paper texture that we're going to take off. And even I've got different groups of dots leaving only this half tone brush and the original illustration. So everything for illustrators will be making to create this image. And for my photo composite layers will be making every single brush atmosphere layer like that. We'll be doing every single Mandela, every single lightening brush. I'll be showing you my entire color grading process to create the light. I'm gonna be showing you how I sharpen. Afterward. We're going to be making this texture to apply over to it, as well as how I go about getting my final color grade. So spend some time looking around at different tools. In a later lesson, we're gonna be showing you how to plan out your toolbox so you don't have to have an idea right now of what you're going to offer. You may find something along the path that lights you up and really gets you excited about it. And so the point of this introductory lesson is to show you the world that you're about to enter and get you excited about the possibilities of what you can create. Alright, let's go ahead and get onto the net. 3. What tools are we going to make and what does the pipeline look like : Alright, so we're going to be talking about workflow. We're going to be talking about pipeline now before I get into the lesson, I just want to cover with you what I consider workflow and pipeline to be. These are the steps that you're going to use and the software that we're going to use is shown here. Now, I'm going to be working primarily in Affinity Designer because with pixel, many of the tools that are available in photo are also in designer. So Designer is the more restrictive. There is no perfect pipeline. So what I want you to do is take my advice as a starting point, but certainly use it to start your own exploration of different tools and different workflows for yourself. Alright, let's go ahead and get started. All right, so let's talk a little bit about the pipeline here when it comes to digital tools. Now, there is no one perfect pipeline for digital tools. And when I say pipeline, it is a series of software and steps you take to create your digital tools. So what I wanna do in this lesson, I want to make it very specific. We can do the same exact things that Affinity Designer. Then we can do an affinity photo. But Affinity Designer deals in vector, Affinity Photo does not. So if you're tuning in for the tools that I make here, go ahead and skip to the Affinity Photo stylus and skip the vector section entirely because they are different workflows. Let me just show you an example of how I would go through and make this lightening brush. So for the lightening brush in this class, we're going to use a free program called Hit Film Express. We will go through and I'll show you all of this in the individual lessons. But I use Hit Film Express to create the lightening. Then I move it over into Affinity Photo or if many designer and I create the PNGs. And it's from these PNGs that I go ahead and create the brush back. So the pipeline is a hit film express over to Affinity Photo or Affinity Designer. Now, on the other hand, when I make textures will go through here and I'll just go to my texture section. And I will create this by hand. I'll do a brush overlay and I will scan it in. From there. I just utilize it in Affinity Designer or Affinity Photo. So the pipeline there is created in the physical world, scan it into there and a high DPI resolution, and then bring it into a program called vector magic. Let's say, where then I can go through and adjust and vectorize some of these textures. So that's my way to do this here. Now, if we're looking at, say, some of these vector projects, if we do the different snake here, let's go ahead and bring up my Affinity Designer. When I do this, I will go through and I will grab an actual physical pencil stroke or a brushstroke. So all of these that we've done are actually made by using physical brushstrokes, which then are brought in as PNGs and then are converted into these brushes. So when you think pipeline, each tool really require a different pipeline. In this class, I will be using primarily Affinity Designer. And why Affinity Designer? Because Affinity Designer has pixel persona, which means all the tools here are present in Affinity Photo. So 99% of the lessons you will be able to do in Affinity Designer. Now, can you do the same ones inifinity Voto, with the exception of a vector brushes? Yes. A 100% Affinity Photo does not like vector brushes. Okay, it doesn't work. We're also going to be using Hit Film Express. I'm going to show you how to use it filled express. It is completely free from FX Home and I love it. And then if you are so inclined, we will be using a tool called vector magic. Now, this is optional. You can always go around and do your own tracing of vector art. This is a vectorization program, not required, but I am going to show you how it fits into my pipeline. So if you like it, use it. If not, you never have to see it again. Alright, so that's a little bit on how the pipeline works. I wanted to make sure that that was covered so that you understood the software we were going to be using and why I did what I did. Alright, let's go ahead and start making some stuff. 4. Making your first digital tool : Fluoride folks and welcome to making digital tools were gonna go out and I want you to have a go and do project. Now. Now this is really early in the class. I want you to grab your smart phone or any camera, doesn't matter which camera. And I want you to go out and I want you to shoot a wall and you're gonna create your first digital texture. Now, I've gone out and I've shot one of my walls outside, right around the corner from my house. And I'm gonna be showing you how to create that in affinity. So I want you to go and do, go ahead and pause this. Go out, should've all, and then follow the steps that I give you here, coming up to create your own tool. First thing right off the bat. Alright, we'll go ahead and flip over and we'll see inside. All right folks, now I am back in Affinity Designer. You're gonna see a common theme throughout the course that I'm going to primarily be working in designer. But if you are in photo, don't worry about it. The reason I chose designer is because designer has the pixel persona, which has limited pixel capability. So if you can do it in designer, you can do it in photo. Every single tool in designer for pixel is in Affinity Photo, every single one of them. Alright, so this is the image that I went out and took just not too far from my house. I literally went around the corner and shot a wall. Not hard. Now, I want to show you how easy this is to make a digital tool. We're going to make a simple texture. You select your background layer. You come over and we're going to throw a black and white adjustment on it. Perfect. Now we're dealing in black and white. We're gonna make a texture right? Then we come over, let's add a Levels Adjustment. And now on mine, I like to have a lot of dynamics in my texture. So I will make this very much black and white right? Now you may choose to do something a little bit different. This is just my texture. So I'm gonna go ahead and I'm gonna make it right about here, I think is pretty good. Now let's bring the levels adjustment in. Alright, now what do you do with this? Well, you export it as a PNG. So let's go ahead and go to File Export. Lets go ahead and make it a PNG will call this texture one. Now this is a quick win here folks, this is getting you up and running immediately. Alright, let's go ahead and pop that in. Now. Grab any old picture that you think will work in affinity. They've got the stock tab up here. So you can certainly use the stock tab and you can go to peck cells on splash and have your favorites. I'm gonna go ahead and I'm gonna use a composite that I did not too long ago. And I'm gonna go to File Place. And now let's just throw texture one on it. Boom, just like this. Alright, now that doesn't look very good, right? Looks like hot trash. What you're gonna wanna do now is you're going to want to adjust the blend mode. I'm going to use an overlay. And you're going to want to adjust the opacity. That is pretty cool. Now, we're going to add a mask layer to this because I don't want it to obscure the face. So I'm going to brushes, I'm going to pick a soft round brush and remember with masks, black conceals. So I personally want to conceal the texture on the face. And I'm not gonna do a great job of this because this is the introduction type lesson. We assume you've got some affinity chops here. So I'm not going to spend 15 minutes going through and making sure that I hit every single finger, right? Right. But this folks is the essence of making a digital tool. This is what you're doing. All right, awesome. So now notice the intricacy and the texture that this thing ads off, on, off on. Nobody told me that I missed the middle ever face as no help at all sometimes. Alright, let's go off on and you can blend textures. If you zoom in to this image here, you'll see that I used a scratched up metal texture before I rasterized to this thing. So I'm adding a scratched up metal texture on top of this texture to get a whole texture salad here. Now, you can change the blend modes, right? We can go ahead and kick this up a notch. You can use other types of blend modes. You can use add if you want to, completely changes the look. So this gives it a completely different look altogether. And you'll see that where that paper was torn, the ad now gives us that area there where the paper was torn up, right on the side here. So that's a little bit on how to create your first digital tool. Congratulations, you've all created your first texture. Let's go ahead and get into the meat of this course so you can see all the wonderful things that Affinity Designer, Affinity Photo, and the world of digital tools has to offer. Alright, we'll see you the next one. 5. How to reverse engineer the tool: All right, let's talk toolbox here now, when you're looking at digital tools, one of my favorite ways to learn how to create new digital tools is to reverse engineer the tools that we've created. So I've created a lot of tools in this course. I'm going to reverse engineer some of mine so that you can see how to take a piece that you may have either purchased or downloaded from a free site and reverse engineered to create your own method. This reverse engineering is key. Once you determine what it is you wanna make, it helps you determine how to make it. All right, let's go ahead and get into the computer and we'll take the next step. All right, folks, welcome back to infinity. Now, I'm gonna be showing you this and designer. It's exactly the same as it is in Affinity Photo. Now we're talking about how to figure out what your toolbox should look like. What is it you're going to sell, right? What is it that you're going to make? What is it that you're going to create? And so one of the ways that I like to do that is I always do my market research and I reverse engineer things. So one of my best pieces of advice, if you are looking at making a tool set, find a good high-quality tool set that's out there. And reverse engineer how they did it. Now notice I say reverse engineer it. Do not copy it. We are not in the business of copying. Now, I'm gonna go ahead and tell on myself first. So we're going to reverse engineer one of my sets. So we're just gonna go ahead and we're just going to create any old size workspace. And again, if you're in Affinity Photo, don't worry about this. Okay. You're just following along. There's nothing you have to do here. Alright, so let's go ahead and I'm just gonna check vector brushes for two seconds and then I'm gonna show you Pixel brushes for my Affinity Photo folks. If we go to the brushes and we bring up the set that I'm currently working on here for the class. And I come down to my wood cut etch, right? So there's my brush. And if I want to know how to create woodcut. So if I wanted to go through here and apply a traditional woodcut to this, i by the brush. I then come into here and I just look at the settings. And I look at the look of it and I look at how they've created it and I say, okay, this is what I need to do. The same thing is true with things like styles. If we're creating some magic styles here. And I come up to this, notice that now if I apply the style to my line, it will tell me the blend mode, the opacity, and the type of layer effects. So what are the best ways to reverse engineer tools? Or I should say one of the best ways to create your own tools is to learn how to reverse engineer them. So if I'm going to go into the pixel persona, let's look at a more complicated brush, shall we? And again, I'll pick on myself. Alright, let's come down here. Let's look at the flame brush. Wu. Actually, let's go ahead and look at my half-tones. Alright, we're gonna go ahead and we're gonna look at half-tones here. I've got all my settings. And then your question might be, well Jeremy, What are you doing with your texture and what are you doing with your brush nozzle. So I've got a soft brush nozzle and then I've got a texture full of these little dots. So you can reverse any brush out there. Even as an example for this, we've got a flame starter pack, right? So if I come over here, I grabbed this brush and I go ahead and I just want to go ahead and lay out a color here. Let's go ahead and just grab this black and pop that into existence, right? How did I make that? Well, let's go ahead and reverse engineer. There's my size and I only have one brush nozzle. There's my texture. Pretty simple actually. So one of the best ways that you can learn to make tools is by reverse engineering others. Let me give you an example of a texture. So we come to the downloadable, which we will get to in this course. And I come over here to say overlays, right? If I come down to section six, actually, let's go ahead and go one step further. And I come down here to atmosphere. There's how I created my atmosphere, right? I've got three bands of light. So if you're looking at what makes a good overlay, that might be a way to do it. If you're looking at doing textures, you can come over here and reverse engineer some of these textures. As an example, this one was just made by folding a sheet of paper, then applying a graphite to it with a pencil. Very simple. So my point here, we're gonna be showing you how to make all of these in the class. What I would encourage you to do, again, once you find out what your niche needs to be and what you really wanna make. Go check out some cheap brushes or some cheap texture packs, or even do some research online and reverse engineer the tools so that you can learn how they're made. And then do not, do not, do not copy, make your own. Alright folks, that's a little bit on how I've learned to do this. And I hope you learned a little bit along the way. 6. How to do your market research and define your value: All right gang, and this is all about market research. Now, once you understand what a digital tool is and you know how to reverse engineer it, and you've had success creating your own, you now have to do your market research to figure out exactly what it is you're gonna make it and how to define your value. So we've included a template for it which will be covered in the video. But this is a strategic business decision. Now, if you are just doing them for yourself and you don't plan on producing packs, you may be able to skip this one. But if you're looking at producing this with the intent to distribute them in some way. This is one of those lessons the chicken want to pay attention to because this is the business side, in addition to the artistic side. Alright, let's go ahead and flip over to the computer and we'll go ahead and get started. All right, so let's go ahead and pop on over here and apply what we learned here. So what we've got here is I've got the same sites, right? So let's say that I'm looking at making some sort of a pixel brush set. One of the templates that you have in your downloads that I'll bring it up. Now this is in there's a PDF is called the builders toolbox strategy planning sheet. Now, when you use this tool, the first question you're gonna ask down below, who is your tool built for? Photographers, illustrators, T-shirt makers, as an example, who are you targeting to use your product? Then you're going to want to look who else is in your space, who makes the tools you use, what do you use? And then what is the distribution strategy? Like I was saying, third party like a design cuts through your website. Maybe you're gonna do gum road. And then how are you going to package it? Isn't going to be a kid to make a thing that bundle of brushes at themed set. What's your plan? We've already gone through that in other lessons. And so this is the sheet that I use. I put down my asset categories, distribution strategies, and then I always do my market research. What's out there for quantity, and what's the price point? Who will use it and what would they be able to make? So as I begin to do my research, I'm interested in say, making a brush set. So what I'm looking at here on design cuts, we've got 25 brushes for realistic portraits. Okay, fair enough. Now I'm gonna switch over to Excel because I'm just an Excel guy. So my first one is 25 brushes. And we're going to look at about $15. That's my first quote, so to speak. Well, let's take a look at what else we get. We've got text riser Pro to, okay, that's cool. With 90 brushes for 799, OK. Slash 799. Alright. Then let's do a third one just for giggles. Let's go ahead and take a look at chunky markers. This one comes from the affinity sites, $17.34 markers. Alright, 34 vector style brushes. Okay. So that one's probably not good because I'm not that interested in vector right now. So let's go ahead and go to the store. Let's go ahead and check out what else they've got. Mario textures intones. There is a good one. Alright, how many we got? 100 and styles 25, vector 92 assets. That one's not quite apples to apples. Alright, let's try. There we go. 80. So we've got 80 for $20. Okay. Now, who's my customer base with these? I might say tattoo artists. And what am I tool's help them do. My tools helped him replicate a real pencil field and give them stencils. As an example, stamp brushes can be used to create stencils. Now, I might choose to do these through my own website. Now, if I'm looking at putting a price point to him, this tells me kind of what's in the market. Here's the thing though. I don't want you to look at price. Only. Think about value. What is it that your product allows somebody to do? And what is the value of that? Now, I'm going to talk honestly and candidly to all of my brush orders out there. You know who you are. Nobody has ever opened up at 200 brush pack and used all 200 brushes. I can tell you that I have three or four out of every pack that I've done, that are my go-to brushes. So if I was to come over to this half-tones pack and there are a 198 brushes. I probably will not get through a 190 of them. I'm going to use the same eight. So when you do this, I want you to apply a little bit of common sense to this, and I want you to think in terms of a value. Now, notice that when we went into, say, the affinity store and we went to some of these packs and let's just go ahead and use this one as an example. Notice they had 100 styles, so they are making styles. They are making vector brushes. They've got 92 assets. They've got samples of design and a user guide PDF. So when you look at this, this is why you fill this template out. Because if you wanted to make a kit, and I think this is a great example of a kit because it's not just when asset you would come in then and you'd say, you know, for texture pack? Yep. For mock-ups? Nope. Asset pack? Yep. Color palettes. Yep. Let's add styles in there. And you then would have to go through and really create something that would tell you you're in the ballpark and something that would tell you that somebody wants what you have to sell. So this is not essential to sell something. Again, the point of this course is not to sell. The point of this course is to define your toolbox and set out what the plan is terms of what you're going to make to make sure that what you make gets you where you want to be. Aright, this helps you define your offer. Hope you learned a little something. Let's go ahead and take the next step. 7. Section 2 Introduction to the section : Alright folks and welcome to this section. Now this section is Affinity Designer specific. Affinity Photo does not recognize vector brushes. For this section, we're going to be making vector brushes. So if you're in Affinity Photo, only, skip to the next one. Alright, if you're still around for Affinity Designer, in this section, we're gonna be showing you how to take hand done brushes and how to create vector brushes. So we're going to be showing you how to create them, how to skin them, how to vectorize them, how to create them and adjust them once you've got the scans inside of Affinity Designer. And then we're going to be applying them over to this illustration of a snake to add in some really cool textures and some really interesting line art into your design. Vector brushes are big business. They're hard to do. A lot of people aren't doing them. A lot more people do pixel raster style brushes, then do vector. So if you like working in vector and you have really good vector brushes, you are definitely in an elite class of people who do it well. So I'm very excited about this portion. As an illustrator, I love using vector brushes, and I'm excited to show you my process here in this section. All right, let's go ahead and get started. 8. What are vector brushes and what are they used for : All right folks, welcome back to Affinity Designer. So in this one we're gonna go through and we're going to do a unit on vector brush building. And so this will not be an introductory tutorial on affinity. We'll assume that you know a certain amount about affinity. This is a master's class on how to do vector brushes. So let's go ahead and start with file new. And let's just create a space. I don't care what space we use. And then let's go ahead and put a rectangle in it so that we have some sort of a color. This is going to be out called our garbage space for lack of a better term. Now, when I do vector brushes, These are the three panels I always have out. I have my styles, my stroke, and my brushes. I always have my layers panel out. I like it to work with it right about here. If you don't have these, makes sure you did under View studio and make sure they're clicked on. And if you want to pull them out, just drag and pull them out into your workspace or read Ockham. Alright? So when we work with vector, vector is based on math and it works only in the designer persona. You cannot use vector brushes in the pixel persona. And these are the three tools that people will use with your vector brushes. The vector brush tool, obviously, the pencil tool and the Pen tool. I'd like to just show you what these three tools do so that you know how people will be utilizing your materials. Let's start with the pen tool. I'm just gonna click, click, click, click, click. And we'll just create some curve. Awesome. Let's bring up the size of this stroke. Just like that. Now let's go to the pencil tool. People who use the pencil tool, you really get some really nice arcs in it. You can't achieve that with the pen tool. But if I'm looking just to do a down and dirty stroke, the pencil tool is far easier for me then creating a bunch nodes with the pen tool. And the last one is the vector brush. So we bring in the vector brush. Notice it operates a lot like the pen. I'm gonna go ahead and bring this up. But there are a couple options on the vector rush that you don't have on the pen. If I click on the vector brush right here. Notice that I have blend modes. So Blend Mode is a big thing for the vector brush, whereas when it comes to pencil, you don't have it. And when it comes to the vector brush, you'll notice that there is no sculpt mode. So the pencil has the sculpt mode, the vector brush has Blend Modes, and that's really the difference. Now everything works a similar way. If I come down and I'm using the default brushes right now in the current version of Affinity Designer, I can come down and select a stroke and apply brush. So this all works the same way, right? The reason I wanted to go through this with you is because different brushes are used for lining and different brushes maybe used for what are called Stamps. Let me give an example. So I'm in the markers brushes that came with this current version of Affinity Designer. And if you double-click on the brush, you'll see that what you have is a body that is designed to be stretched. Now, we have another video on kind of going through all the settings. But as a general rule, anything that has a stretch on it is generally designed to be a stroke style vector. So as an example, if I'm using the vector brush tool, I currently am selecting my marker. And let's bring that up just a little bit. And away we go. Alright. There's my marker stroke. Now I'm using a mouse. I'm now trying to make this sexy. I'm not trying to put taper on it. So this is kind of how this brush operates. Now let me show you how a stamp style vector brush operates. I developed a couple here for flares, let say. And if I come down to this flare, I grabbed my vector brush and I just pop one of these things into existence. Okay? This is more of a stamp. Now why do I do it this way? Notice in this layer, it's a curve. Alright? So a curve now I can manipulate, I can change the size of, I can drag around all of that stuff. Now, when I come into the brush that created it, notice how there's my pattern, and I will show you how to do this in this class. But notice here the body type is set to repeat. Now what does repeat mean? Well, if I take this line and I decided to apply this, now it has repeated this pattern all the way through the line. So the first thing that I need you to get are the three tools that people will use when you think about the brushes that you're gonna make. The second thing is there are those brushes that are used for strokes. And there were those brushes that are designed to be stamp style brushes were going to be working with both here in this class. So I wanted to take just a little bit to kind of inform me on that, make sure you understand what's in, what's out. And now let's go ahead and take the next step. 9. Making Brushes - intensity vs Image brushes and How to export both : All right, folks, welcome back to affinity. So we're making vector brushes today. Now, this is one of the most convoluted pieces that people on the forums have had problems with is the different types of brushes. So what I'd like to do, we're going to leave this garbage space up. And the first thing that I'm going to do is I'm going to come in and go to File New. And I wanna make a 11000 by 100 pixel Workspace. Now, let's make it pixels not millimeters. That would be huge and make it 72 DPI. Okay, oops, change it from pixels. It decided to convert. Alright. So I make all of my brushes square and do yourself a favor. Create a rectangle. And for right now, make your background black. Okay? So for every single vector brush I make in this course, you want a 1000 by 1000 and you want the background to be black. That's a general guide. Ok, so I've got my brush making space, and I've got my brush trialing space. That's it. So now let's go to the brush making space and into the brushes tab. Come over here and you're going to create a new category of brushes. So new category of brushes is like a new group. And the first thing you're gonna do is you're then going to rename the category. I'm going to call this one garbage. Because quite frankly, for trialing stuff, your first brushes are going to be awful, right? So in your downloads for this lesson, I've also included a couple affinity files and some PNGs. So let's go to File Open. And the first thing that I'm gonna do, I'm gonna go ahead and I'm gonna find this smiley face master. Alright, so notice what I've got up. My smiley face Master, my brush building area, and my garbage space. So this smiley face Master, this is an important thing because now when you go to your brushes, when you click down, the first thing you're gonna see is create a new textured intensity brush versus a new textured image brush. Now the thing that people ask on the forums all the time, what is the difference? I'm going to make it super simple or as simple as I can in this video. So I would appreciate it if you grab the smiley face master and follow along because you're going to have to understand this in order to build your brushes. On intensity. Brush only works in black and white. It uses the opacity value of the image, just show texture. So this white smiley face is 100% opaque, right? If I was to take this and drop it down, notice now it's not as intense. That's why they call it intensity. So when you do this, when you make this type of a brush Affinity Photo or Affinity Designer is going to look at the intensity, which is the black and white. So it will count the black. Now, let's go to brushes. And let's make a new textured intensity brush with this smiley face. Okay? Now, if you do that, it's going to ask you where you want to pull it from. And in your downloads, I included the white smiley face with the black background. Now, if you don't want to do it that way and you want to take it from here, you go to File Export. And this part is important. You're gonna export everything as a P and G. Affinity Designer recognizes PNG for brush files. And because you want the black, you need the black. You want to export this selection with the background. Notice the selection with the background will get just the smiley face and won't get this trash out here and hit Export. And we're going to call this z Alt Delete layer. Alright? So that's how you export your image, makes sure that it's a black and white image for intensity. And then what you're gonna do in the brushes, come down, grab a textured intensity brush. And now that's what comes up. Now that doesn't look like this, does it? If you click on it, notice here we go to body. What it's set to is stretch. Well, we don't want to stretch that. We want to repeat it. There we go. Look at that moment, you have your first type of brush. Now, let me show you how this works and why this doesn't work. So you're not going to want to do this. Let's say I go file export and export the PNG. But now I say without background, I just want a transparent background. Okay? Still gonna let me do it. We'll call this y because, well, for reasons, Let's go ahead and export it. Now let's, I'm going to try to build this. Don't waste your time on this. Go to File intensity brush. Now let's grab this. Now you see there's my white smiley face, but it has no background. And now notice what it's gonna do here. It applies a background to it. Why did it do that? Well, because quite frankly, it didn't know how to handle transparency. Remember you made an intensity brush, so we'd needed black and white. You gave it to transparency. So what did they do? It slap the black background on it and said, best luck. So this will absolutely ruin your piece. Let me change it to repeat. And you see that ugly white border. That's because you export it, it with transparency on an intensity brush. Alright, so let's go ahead and now I'm just going to show you this. And just to make it simple, let's change my garbage space. Let's change it to a black garbage space. Let's say. Alright, let's do this. Here's my brush as it sits. Okay, now why can't we see it? We gotta change it over to white. Or we go, there's our brush. Now notice it has direction. If I come over this way, it changes it up. But now let's check this garbage one. Ok, now that doesn't look great. Let's move the size up. Note, and if we zoom in real hard, you can see the hot trash that is created. This is because you exported and intensity brush without any background. So Affinity Designer does not know how to deal with that. Okay, let's go ahead and delete this brush to do this in the brush panel, right-click, Delete brush, and we don't want that anymore. All right, and then let's go ahead and kill out all these lines. You always have a garbage space because you're going to have to trial brushes time and time again. Okay, so now let's take this thing here, right? And now I want to show you how an image brush works because you have to know how to export an image brush. In the next lesson, I'll show you what the differences are. So we still have the smiley face, still on the black background. Now watch this. We're gonna go to File Export. Now here I do want PNG, but now I do want to selection without the background. Here we very clearly, when you go through and create an image intensity broke or an image texture brush, you want without the background. That's the good news is I've already done that right. I did that for a last time. So if I come up here and I go textured image brush, let's grab this one. And now it's going to create an image down here. Boom, just like that. Okay, now notice it's stretched. What are we going to do? We're going to repeat bone just like that. Notice how these are the same. Now, if I did this wrong, so I'm going to now create an image brush. And I'm going to use that one with a black background. Watch what it does. It sees the black as a color. So it creates this black background on it. So this is why hear me very clearly and write this down if you need to. If you are making image intensity brushes or image brushes, I'm sorry. You want transparency? If you're making intensity brushes, no transparency, it must be black and white. Alright, so let me just show you what this does here. Come over to this. Let's change the background so that we can see the black show up because it's going to show up. And let's go ahead and just fill this blue. Awesome. Okay, let's do our good one. Bringing up our brush. A smiley face. There we go. Now let's bring up our bad one. No frowny face. Oh, that one's even stretched. Let's move into repeat. Close. Alright. So I know we don't know what the differences are yet between the image brush and the textured intensity brush. That's going to be the next lesson. In this one, I wanted to show you how to properly export your image for both the intensity brush as well as the image brush in Affinity Designer. Alright, I'm gonna go ahead and delete this brush. Because it turns out I don't want to garbage. And in the next one we're going to show you when to use each. I will see you the next one. 10. When to use Intensity vs image brushes : Alright, getting, Welcome back to affinity designers. So this is going to be the last theoretical lesson on image versus intensity brushes. Before we get into something meaningful, you have to understand this part because if I show you how to make brushes, but you don't know which type to juice. Your brush will never perform the way you expect it to. So let's go ahead and get started. I've got my garbage area here, right? This is where I test out all my brushes. And I've got my 1000 pixel by 1000 pixels workspace. So let's go to the garbage area. And I'm going to come over and I'm gonna undock my brushes tabs so you guys can see it. I'll put it over here on the right-hand side. And we're still working in the garbage. And we're going to go ahead now and we're gonna make a textured intensity brush. Now the question that I want to answer in this video, what is the difference and when do I choose it? So it depends on which type of brush you're making. Let's make a textured intensity brush first. In your downloads for this lesson, I've included two images. Notice the stroke with the black background. Remember that you use a black background for intensity brushes. Let's double-click on that and that'll bring a brush into existence. Now let's go ahead and change this from 64 to 200. Okay, work clothes. And now let's make an image brush, same exact image. But this time I've got the stroke with the transparent background. Let's double-click on this. And now you'll see that it's transparent there. Let's go ahead and bring this up to 200 and close. All right, identical brushes made with identical images. Now let's go ahead and do this. Let's grab our pencil tool. Go We all the way down there. And now I've got this set to green, so you can see this and let's apply this brush. All right, now, we've got to move the width of that line back up to 200. Alright, there we go and look at that. All right, let's go ahead and move this over to 200. If you got it to work for software for a minute. Alright, now this is the intensity brush. Let's zoom in and we'll take a good look at this. Now you see how the brush has some good subtle grades in it. Now this little green line up here, you can see this is something I'll talk about here in just a second. I left that and on purpose. Now, let's go ahead and duplicate this line. So not only do we have the same image, but now we have the exact same line at the exact same width. And now we'll pop this in to 200. Alright, look at how much of a difference there is between one that is done off the color. You see how bright and vibrant That is versus one that is done off the intensity. Here's how you know which one to pick. If the desire is for your brush to be very opaque and pop and be punchy. I use the image brush. If you wanted to really pick up the black and white, the luminosity values and be a little more subtle. I use an intensity brush. That's it folks. That's really the only differentiate or it depends on what behavior you want your brush to have. Notice these were made with the exact same PNGs. All I did was export them so that they worked in the brush type. And you get dramatically different effects in an intensity rush versus an image brush. Okay, now let's talk about this little green line here. When you export these brushes. If you don't make sure that you don't have any sort of these little green lines here. These are leftovers from what you did not erase away. So in reality, when I exported this, there was a subtle outline on this brush and it's very present in the downloads here. Let me go ahead and find wherever I stuck this here. So if I come over here and I look at the black background, what that is. And when we zoom in real tight over here, watch this. I'm going to zoom in. And we're going to move this over. You'll see at home a little line on the outside of this thing here. That is mean not taking care when I did my erasing to make sure that all of the lines were really truly gone. So when you're building brushes, if you see these sorts of lines and the reason I left them in is so that we could talk about this border. You're going to want to go back to your original PNG and makes sure that you have done an adequate job of erasing it. These are leftovers from your export. Alright, so that's a little bit on when to use each of the brush types. So in the first couple of lessons you learned the differences between an intensity brush in individual brush, you'll learn how to export both the types of brushes. You learn when to choose those types of brushes. And you'll learn a little bit about the different types of vector brushes. Let's go ahead and this one, and let's go ahead and create an actual brush. All right, we'll see you the next one. 11. Tools we wil use to create vector brushes : All right folks, so let's go ahead and talk vector brushes. Now, when it comes to vector brushes, I've laid out some of my tools that I use on the daily to create vector brushes. So again, it depends on what type of vector brush should look into make. And again, don't use expensive stuff. As an example, you're gonna need some black paint. Now this is super cheapo black paint. Don't use the expensive stuff. You're just wasting it. So you're going to want, I tend to use acrylic because it's easy to clean up and you can dilute it with water. And if you want a more water-based look to your brushes, I recommend using ink. Now, doesn't matter what type, right? These are super cheap things. But if you plan on colorizing your brushes, you may want to work in a certain color, so sometimes I'll switch it up for a blue ink. Now, the other thing you can use to create some really cool vector brushes is a very simple watercolor set. Take a black mixed some water with it to create your sample. Adjust the head and tail. And while I, you're done. Now, some of the other tools that I'll use as an illustrator, but I like to use, I like to make brushes out of pens. So I'll buy some actual physical marker pens and I'll make lines on my paper for pins also, you can use calligraphy brushes. So don't limit your experience or your imagination by what you think you have, say available to you. Figure out how to use what you have available to create some amazing stuff. Now, if you're gonna go with the paint route, which is what we're gonna do in this class. I have a selection of brushes. Now. Some of them are large, like these bristles style brushes. Some of them are sponges, some of them are the traditional knives, right? Notice this is a cheapo plastic knife, not an expensive one. And I went down and bought a whole bunch of different paintbrushes. Now, you can even get these at a lot of secondhand stores as such, you don't need a perfect brush. You just need something to mark on the paper. And the last thing that I use are these little sponges. These little sponges creates some really cool shapes that you'll seen use to create some really cool vector style shapes, masks, textures, that sort of thing. Now, the last thing that I want to show you is your paper selection. There are three types of paper that I use. The first one is your standard white copy paper. Now this doesn't have any texture on it, so you're gonna get a very good smooth stroke. The second type of paper that I use, I take my old sketchbook pages. So let's say that I sketched on this page here. Technically that's kinda crap, right? And garbage for what you're gonna do later in sketching. But could you draw a vector shape on it, aligned, absolutely so painful and on it. This is a great way to reuse a lot of your old sketch pages that you thought maybe you could never come back to. And my preferred one is watercolour paper. So this watercolor paper here has a very nice texture to it. And so when I run my paint across it, it's going to give me a lot of good grays and blacks. Now, that may not be what you want. If you're working in inking, you don't want a lot of texture on your paper, but if you're looking at painting, you're going to want that. So these are the three types of paper that I use when I create my vector brushes. I use pens, I use paint brushes, I use sponges, I use acrylic paints. Again, these are just some of the things we're going to work with in this class. So let's go ahead and get started making some vector brushes. 12. Making physical strokes on paper : All right, folks, welcome back to the overhead camps. So what I've got is a standard piece of drawing paper down here. Now, there's nothing special about this, right? We're just going to go through, and I'm gonna go ahead and scoot that out of the way so that we don't get those shadows. And now what I'm gonna do over here, I've got a little bit of black paint and I'm just gonna go ahead wet my brush a little bit and I'm going to put a little bit of water in the sideDish here, right? So what I'm gonna do now is I'm going to come in with the black paint. Now, when you make a vector stroke, you've got three parts to a vector stroke, which we'll show you in the next video. You've got the head, the tail, and the body. Now the head is where the stroke starts. The body is the center of the stroke and the tail is the end of the stroke. And so you can choose what happens with these three pieces of the brush. So what I'm gonna do, I'm gonna start off by making a very consistent stroke to start with between the head, the body, and the tail. Okay, there we go. Okay, there's one. Now, let's do one. Let's go ahead and put our black here. Let's put it inside of that water there and kinda wedded up little bit. Looks good. Now this is gonna work wrote real well with the intensity brush. So I'm gonna come down here and we're going to go ahead and just do one up here. And now I'm going to vary the pressure a little bit. Ok. Now I'm going to start with a little pressure. I'm going to go a heavy pressure. And then I'm gonna go with a little pressure. And you'll see how I'm starting to get various degrees of lightness. Now, we're gonna make a couple of stamps as well while we're here. So let's go ahead and take the same brush. And now what I wanna do with the stamps, I wanna go ahead and I want to just do up a stamp. Look in a little bit like this, let's say, okay, I'm going to work on three. And you'll see how I'm moving and shaking the brush a little bit. Okay? And we're gonna go and make a little bit tamer one there. That ought to do it. Okay? And you can do as many as you want. This is gonna give us or different strokes, and this is going to give us potentially four different stamp style brushes to work with. So I'm gonna go ahead and do one more. Now just for giggles while I'm here, might as well do it right now, right? I'm going to grab a lining brush. I'm gonna dip it into the water there. I'm going to dip it into the black paint here. And we're gonna do some lining strokes while we're here. Alright, so let's go ahead and start. Let's give it a good stroke width there. That looks pretty good. You get another one going on here. Now, notice how that one got a little bit light. That's completely vine. Now you want to give yourself some room because you're going to want to isolate each one of these in terms of what you do in the next section. So give yourself some room in between. I'm gonna make a couple of stamps here. Okay, see how that's a little bit different stamp. And what I'm gonna do, I'm gonna go ahead and include this sheet. Now there's a lot of scribbles on this sheet in terms of the pen marks or pencil marks, that's completely fine. So you kind of got the idea here. Now the last thing that I wanted to do, I do want to show you while you can taper your stroke if you're using a pressure sensitive pad. I like to make a couple with a nice tapered stroke. So I'm gonna go ahead and move this over to the side. I'm going to make sure I have very little paint on my brush. And I'm gonna taper. And then I'm gonna go thick. And then I'm going to taper. I'm gonna taper. I'm going to put down some pressure. And I'm gonna taper, I'm gonna taper, pressure, taper. As an illustrator. That's pretty awesome. That's gonna give me a really nice look on some of these. Okay? The main focus here, folks, is variation. So this gives us some really good variation. I'm quite happy with that. And we could keep going all day, but in reality, you want to probably keep the workload minimum. Alright, so let's go ahead and in the next one, we're gonna go ahead and we're going to scan this in. And we'll show you how to adjust here in Affinity Designer. 13. Scanning and adjusting the image : All right, folks, welcome back. So what we did after we went through and we got our physical parts made, Alright, you guys might remember this from the last video. And we're gonna go ahead and we're gonna take it into this scanner. Now, if you don't have a scanner, don't worry about it. It's not required. As I said in the early part of this course, on alternative to a scanner could even be taking a picture with your smartphone. Now, if you don't have a smartphone, you've got a camera. Take a picture with your digital camera. The important thing that you're going to want to remember is you want the highest quality image that you can get. Now, many smart phones today shoot in HDR and the sum of them shoot in RAW. So I, if I'm taking a shot, will want to shoot in RAW. Why? Because there's a lot more data for me to work with in Affinity Photo. However, if you can't shoot in RAW, definitely shoot in your HD. And if you've got a scanner, give it a quick scan. Now, I scan in black and white. I don't scan in color because I'm making intensity brushes. Now, one of the tools that I like to use, totally optional, is if I'm shooting above, I tend to hook what are these up to the ceiling of my studio. Now, why do I do that? Because what you want to avoid, if you're looking downward at a piece of paper like this, you want to avoid the cast shadows which will make the image non consistent. So if you're going to go ahead and shoot me the phone, make sure you shoot some light from the side on either side so that you don't get those overhead shadows because then you'll have life spots and dark spots, which will lead to inconsistency when we take it into affinity. Alright, let's go ahead and scan this thing out and get it into affinity. All right, folks, welcome back to affinity. So what we did is we scanned in our hand drawn vector strokes. Now, if you have a scanner, this just happens to be the epsilon scan software. Every scanner will have their own software. And if you don't have a scanner, then you'll just go right in to the image. So my scanning software, and this goes also for cameras, let's say is DPI matters. So this scanner runs at 1200 dots per inch. Now why is that important? You're gonna take your images and your going to blow them up and scale them down. If you have a low DPI, you're going to have a poor resolution of image, dots per inch is that resolution. So the higher the DPI, the better the resolution I have mindset to the scanner max. This is also key, the type of image. So as an example, I'm going to be saving as a JPEG, a dot JPEG. And there's a certain compression level. You want the highest level of detail that you can get, either out of your camera or on your scanner. And every scanner will be different. But DPI is universal and the compression of the JPEG is also a universal adjustment, let's say. Now, let me show you how this works in the actual scans because I did a couple. These are my two scans right here, 1112. Notice at a higher compression level, which is going to be image 11, it is 9.37 megabytes. Now, add image 12 at the lowest amount of compression, which leads to the highest image. We have 27 megabytes in this sheet. Now this sheet here is what I'm going to be including in your downloads. So you guys are we working with the exact same image scan that I'm working with? So let's go ahead and bring this now into affinity. Alright, we're gonna go to File New. And as I mentioned before, I always do 100 by one hundred, ten hundred. And I'm gonna go 300 dpi. And we're going into pixels right? On 1000. By 1000, you always make your brush files square and create. Now, I always start with a black background. Remember our rules? Alright, perfect. Alright, and I'm bringing in my image. Now. This is one of the things that I like about working in Affinity Designer over Affinity Photo. I'm gonna go ahead and I'm going to grab this image right here. So what I'm gonna do, I'm gonna go ahead and I'm going to turn this until I'm relatively confident that the thing is pretty straight, just like that. And then I'm gonna come down here and I'm going to crop, right? Just like that. All right, and enter. Now with this one. This is the one that I want right here. So what I'm going to do is I'm going to rasterize. Now. We go to our Move tool. We bring this up large and in charge. And the first thing we're gonna do is we're going to right-click and we're going to rasterize now what that's gonna do. That's gonna flatten this thing completely out. Now what I do is I come over with my eraser tool and I erase out everything. That is not the thing that I want. Now notice my brush with super weak. Come over to brushes, come over to basic game. Let's have a good, solid, strong brush. Okay, and scorched earth. Okay. This now becomes our image. Alright, perfect. Now I don't have to get close. I actually don't want to get that close. Let's go Control Z. Now. Why did I just do that? I got a little close up here and I destroyed my image. You don't want to do that. You'd rather have more. And I'll show you why. Alright, now, we're gonna go ahead and we're gonna make this into some sort of an intensity brush. So the first thing we're gonna do, I'm gonna come to layers and we're going to invert. Alright, so there's adjustment layer bone. There is our stroke folks. All right, so once we've got this inversion, now what we have to do, I'm gonna go ahead and I'm gonna pull in a Levels adjustment. Now, there's two things you wanna do with every single vector brush. The first one, slap a black and white adjustment on it. Now that seems repetitive. But I have had brushes that had a tinge of another color like a light, light, light purple, which threw off the entire brush. So anymore Black and White Adjustment is a goto. And the second thing you're going to do, you can either do levels or you can do a curve. I personally like levels for this totally up to you. Alright? And we're going to bring the levels in. And notice how we tied it into the image. All right, now what do we do and what the levels are going to turn the blacks down a little, or the Whites down a little. We're really working at getting a good dynamic image. So it really depends on what I want the brush to look like. I really like that. I think that that is super clean. Now, if you want it a little bit more variation, you could always go somewhere in here. I really like this look, I think that that's going to be relatively super clean. And so that will work for me folks. Alright, now what do you do with this? Well, this is my image. I'm gonna go ahead and I'm going to bring this up just a little bit bigger. Remember, you can always shrink down, but you really can't ever get better. And now what I'm gonna do, I'm gonna come over to File Export. And remember we are doing the luminance style brushes, right? The intensity brushes. So PNG selection with the background and export our alright. So let's go ahead and I'm going to pop this thing in where it needs to be here for right now. I'm just gonna go ahead and put it in pictures. I'm going to call this stroke one. And by the way, folks, this will be available in your downloads. So if you want to pick up from here and follow along, you absolutely can. And save. All right, good deal. Let's go ahead and call this one here. And what we're gonna do in the next one, we'll show you how to adjust the brush and go over some basic stroke settings. All right, we'll see you the next one. 14. Basic Brush settings and troubleshooting : All right folks, welcome back to Affinity Designer. Now, this next section, what we're going to be doing is I'm going to show you how to make the brush with the stroke example that you created in the previous lesson. So what we're gonna do is we're going to come to your brush panel. So I'm going to go ahead and bring this up and you notice I've cleaned off my space. Now, we're going to come over here and I'm gonna create a new category. And I'm gonna go ahead and I'm going to call this, let's rename the category paint stroke. Now I'm going to call this paint stroke too, because I already have paint stroke one. Alright? Alright, and there we go. Now we're gonna make a textured intensity brush. Remember last time we exported the PNG. So we're gonna go to textured intensity brush, and we're going to find wherever it is that you put the final image that we've got. Now, if you're just joining us, I do have it in the downloads here. It's called stroke one. And it looks like this. Remember PNGs are used by Affinity Designer to create brushes. So this brush has now come into existence. Now, I want to show you a special setting when you go through and you do this. Ok, let's go to File New. And I want you to create a, let's do a 1500 by 3 thousand pixel workspace. And just hit okay. Alright, perfect. Now let's go ahead and make a rectangle. And remember we're just kinda making a garbage space. Now, the thing that I want to show you here in the Stroke panel. So let's bring the Stroke panel out. And let's bring the brush panel out. And this number right here dictates the size of your brush in pixels. So let's double-click on this brush. Okay, right now this brush width is 64 pixels. When you slide this over, it will get bigger. So let's go ahead and I'm gonna make this an even 200 pixels, just to illustrate. Now, we're gonna go ahead and we're going to close. All right, so what we've got here once we change this to 200, now, we're just gonna go ahead and I'm gonna show you how to do this. I'll use the pencil tool. Actually, let's use the paintbrush. Alright, now you see the circle that's created. This is 200 pixels. Now in your Stroke panel, you'll notice mine is set to Px and this is 200 pixels, so pixel to pixel. Now if yours has point, if you're says PT, here's the hidden gem. Go to Edit, Preferences, user interface. And right here, right, when it says show lines in points, uncheck that. If you check this, you'll see what just happened. I changed back to points. You'll get a tremendous amount of mismatch and frustration with a 200 pixel brush and a 48 line. Now text, you always wanted points 12 text. That's normally the standard. Alright, so now we got pixels, two pixels. Now what you're gonna do is you're just gonna go ahead and test this brush out. Alright, looks pretty good, right? Alright, let's go ahead and take a look at brushed settings. Let's double-click on it. Now, first thing we're gonna do, I've showed you how to adjust the width. Here's my best piece of advice. I think about the application your people are going to have. Most brushes are somewhere in the 100 pixel range. Rarely will I ever have a brush that by default is 200 pixels. If they want to move it up, they can. Sides variance. Now watch this. There is that taper. Now this is key. If you don't set a size variants and then you try to taper using a pressure curve on your stroke. It won't work folks. It just won't. And if you wanted to mess with opacity, you could go ahead and mess with all the way to 0 opacity. So honest stroke brush like this. I don't want it to go to any opacity. I want this thing to be fully opaque at the end because I'm going to probably line with it. And then here you're going to set the controller. Now the controller, you can set by pressure if you have a Wacom or Hou Yun or any other sort of tablet, this is where the pressure setting comes in. If you're just using a mouse, pressure won't do anything for you. Velocity, the quicker you fling the stroke, the thinner it gets. And if you want it to Flink quicker and get thicker, you'll inverse. I can tell you I don't use the velocity nor the inverse velocity ever. Now, the other setting you're going to need to know there are three types of pieces to a vector brush, this little red area here. You'll see this is what's called the head offset and this is the tail. Now what's going to happen is when I draw a line, just like I drew these here, it will stretch the entire line. Now, if I wanted to repeat the stroke, watch what happens now. It repeats the stroke. This is different and notice it's repeating the entire line. Now, if you're going to make a brush that is a stroke instead of say a stamp, you're definitely going to want to stretch. And the other adjustments you're going to want to do, let me go ahead and clear this out. We'll go ahead and get rid of this and this and this. You're going to want to adjust the head and the tail. Now watch what happens here. And I'm going to use this little hanging down piece as my indicator. What's going to happen is they're going to start with the head of the stroke at a 100 pixels. And then it's going to stretch just between these red lines. Now watch what happens. All right. We're going, we're going to go in and now watch the stretch. Notice that it kept the head up here. Consistent. It did not stretch the head, nor did it stretched the tail. It stretched out all of this area up here. So if you have a really artistic start to your stroke and a really artistic flurry into your stroke. You may want to set the head and the tail to not be stretched. Now, when we do this part, if I change this to repeat, what's going to happen now? Watch how it repeats. Just the middle segment. You see the little hanging down piece. Let's go ahead and zoom in so you can see this. You'll see it repeated 1234567. This is the difference between stretch and repeat when you have the headset. Now, there is a strange behavior that goes on just so you know, I need you to understand this. If you set the head and the tail and then you do a short stroke. Let me show you how this works. I'm going to bump this up to 400 so we can see it real easy. Alright, so I'm going to bump this up to 400. Now watch this. I've got the head and the tail set. Okay, now let's go ahead and zoom this in. You'll see that right here. There's a little bump. What it's doing. It's taking this piece, the head, and it's taking the tail. And these two things are a different levels and it's totally ignoring the body in order to see the entire stroke. Here's, this is a weird thing with affinity. I don't know why does it, it just does. I'm going to have to move the stroke Now watch this little area right there. I'm expanding and expanding and expanding and eventually Boehm false stroke. This is unique to affinities vector brushes. I don't know why it exists. And so it was a brush builder. Here's the rule. If you are planning on using this brush for say, cross hatching and doing short strokes. Do not set the head and the tail. Keep the head and the tail all the way apart. Now watch this. If I move it to 100 pixels, okay? Now see I've moved the size down. Watch this. Notice the head, the tail. I get a really good stroke. Why? Because I don't have that head and the tail offset. Now, there's a magical thing that also happens with brushes. And again, I don't know why. Let's move this thing to 400, just like that. And now notice we have a stretch here. If you go through and we apply a stroke at 400, now see how nothing happened. Because I don't have a long enough stroke. The bigger the brush size, the longer stroke you have to make just like that. So if I have a 100 pixel brush, let's go to 100. Okay, let's scroll down here. And I tap on this. Notice nothings there, but there is a stroke there. Now if I come down here and now with a 100 pixels, now I have a stroke. So the last thing that I want to cover here on the weird behaviors of affinity. You are a brush builder. I would highly recommend you do not offset the head and the tail. If you're going to do short strokes. And if you're going to do short strokes, keep your widths down low. I might even go so far as to go to 64 pixels on something I'm going to use for cross hatching. Now the last behavior that you need to know, this is going to impact how your brush we'll corner. So let me go ahead and I'm just going to draw out a pen 123456. And I'm gonna go ahead and I'm gonna move this up now. We're gonna go ahead and just apply this brush over. Where is my brushes tab? So we're going to come to the pen tool bone. There's no brush. Now notice here the cornering is set to pull. So around the corner, it has pulled around the corner. That looks pretty good. But now what happens if I change this to overlap? It takes each quarter as its own individual stroke. My friends Affinity Designer is woefully unprepared for corner brushes. And so you're better off if quarters as its own stamped brush. And if we now fold, watch this. Now Folding, What is that doing? Let's go ahead and click on it. You'll see here treated it like a piece of paper and cut the corner off. So when you talk about vector brushes, width controls how wide it is. Size variance is going to control how much adjustment you get. Opacity variants control the opacity. The pressure is the controller. The option to stretch versus repeat, you know what that does? And if you're going to do short strokes, make sure you do not offset the head and the tail because one, it won't show up. Secondly, it won't grab the body. And lastly, you decide how the thing corners. Alright, this was a long one. That was a lot of information. And so as a brush builder heres the thing that I'm going to tell you, make sure you understand how you want to use your brush when you set it up and then size appropriately, set the body behavior appropriately, set the ends appropriately. Alright, let's go ahead and get into the next lesson. 15. Where to go to get Vector Brush inspiration : All right folks. So what I wanna do in this lesson is I want to give you some inspiration and some places to go so that you know what's available to you when it comes to vector brushes. So this is not supposed to be where you go do by vector brushes. This is where you go to get inspiration to determine what people have made vector brushes with, and how you can harness that same inspiration, your own creativity. So let's go ahead and pop on over to the computer here. Alright folks, let's talk about where you can get some good design inspiration for vector brushes. Now the first place that I would encourage you to go 100% is around your local town. Let me show you some of the photos that I took at a marketplace next to where I live. Now. I went out with my camera and I took some pictures of what was on the wall, what was in their advertising. And so this is a great example of woodblock. These are all vector brushes right here that are used to create these sorts of images. And they really went all in on their advertising for this. So you'll see that this sort of vector brush, this is a vector brush, that's a vector brush. This is a great opportunity to get a feeling for how other people might be using vector brushes in their artwork. And by the way, because this is on the side of a wall, let say these vector brushes had to be blown up to an extreme size. So this is a primo example of a vector art in action. So just a couple more there that go through there and got a couple of different brushes. You see how these have different spots, different areas. There's a great example of some brushstrokes done through there. The other place you could go look on the walls of the areas around you. This was a mirror at a Mexican restaurant where I was eating. And this gives some really cool examples. Let's go ahead and blow this up of the widths that are present in vector art. Now this very well could have been a physical painting. Turns out, doesn't matter. If this is a style that appeals to you. You can definitely copy this because you see the variations in line width. This is a very, very applicable example of different vector strokes that you can easily make from your own brushes. Because a couple other examples here. I tend to do a lot with band posters and such. And I really like that nostalgia type of look, the classic vintage. So this is another great example of vector art used in a band poster. So we blow those up. Notice how this stroke is a little bit different than what we've been looking at. So the first place that I would go is any area around you look for how they're doing their advertising. The second place that I would look is I would look for things that inspire you. What is it that appeals to you? I personally like lowbrow art. So a lot of my vector brushes and such revolve around inking ED roth style. Now, I also like comic books. So the old EC comic books and that sort of thing. Jack Kirby comic books are totally awesome to get some great idea of how different illustrators or using vector brushes. Now the last place that I would give you our public marketplaces. This is as an example, this is just an example of this is obviously designed cuts. And the thing you want to look at here, what are the vector brushes that people are creating? As an example, this guy created texture based vector brushes. Grave editor from retro supply company. Always a win, right? And the gray vector set, we go ahead and come up with that. It's going to give you a brush count. It's going to give you some images there that you can use. Now notice the different types of images that they've got. These were all vector-based. So they've got multiline in one stroke. So when you lay down one line, you might get four or five. Now, these sorts of marketplaces are really good. The thing that I would mention to you, look at what is selling, not what Justice posted, because it's entirely possible that something could be posted and 100% not be selling. Now, the third and final place that'll give you here in this, because I do want to keep it short. I recently discovered this. This is called design, and this is awesome. This is a great place to go to find art that you might like. So if you're looking for inspiration on vector brushes, you might try things like pop art posters. Let's go ahead and see what comes up. They got some really awesome stuff here on pop art posters. Notice you've got some really good solid lines. You've got some pop culture type of stuff. You've even got that sexy half tone Look that's going on there. So we're going to talk, have no brushes in another area of this class. But there's a lot of really good inspiration in terms of vector art that you can use. So my parting shot to you with all of these inspirations is make sure that whatever you're creating is one, either gonna sell if you're interested in selling it. But more importantly, is something that lights you up because nothing is worse than making a brush set for an artistic style that you have absolutely 0 interest in. Alright, I hope you learned a little bit about where to go to get some inspiration for vector brushes. Let's go ahead and show you how to make some more. 16. Making vector brushes in Affinity Designer : Alright again, we'll come back to Affinity Designer. So human Victor brush category, I just showed you in one of the earlier lessons, how to work with a complete sort of spray, let's say a stroke brush. Now what I'm gonna do, I'm gonna show you how to make a lining or inking brush out of what I would call a stamp pattern. So let's go ahead and go to File New. And we're gonna make a 1500 by 1500 workspace. And you can move this down to 72 if you want and create. All right, this is not new to you. Now, I'm going to start here. This is my brush building space, of course. So the Fill, make sure it's completely white. And we want no stroke on this. Alright, perfect. Now what we're gonna do, we're gonna switch gears here. And before your member, what I showed you how to make strokes from physical assets. Now we're gonna make strokes from the actual affinity programs. So we're going to use a brush to build a brush. I know it's kind of an abomination. So let's go ahead and go to pixel persona. Now. Now the trick here, I'm going to stick to the brushes that come in the affinity suite. And I'm gonna go ahead and start with, let's go with inking brushes. Ok. Now, make sure opacity and the flow are up and the hardness is fine. Now it doesn't matter which one you choose. I'm going to go ahead and I'm gonna start with, oh, I don't know, maybe this low absorption in gray here. And actually let's try this one at 36 pixels. Let's go ahead and bring this up. Now. I'm gonna go ahead and I'm going to use my Wacom tablet. You can certainly do this with a mouse. Now, the trick here, I like to start in the upper corner. You see where that brushes moving around. And now I'm just going to create some strokes. Okay? And then we're gonna go up here. We're gonna go down here. Alright, perfect. So I'm going from this corner down to that corner, and it really doesn't matter what you do with it. Now let's go ahead and go to layers. And what we're gonna do now we're going to add what's called an adjustment. We're going to create an invert adjustment. Now, by default, it will attach it to the pixel layer. You want to bring it down and then bring it up. Because remember, we're gonna make an intensity brush. And now we're gonna go to File Export, PNG. And we're going to do the whole document. Now, you could do it. Let's do it this way. Let's go ahead and just grab our selection tool, grab that just like that. And now let's go ahead and go File Export. That'll make it cleaner. Remember PNG, Now remember it's selection with the background and export it. Now I'm going to put it into downloadable files. I'm going to call this brush one. Now we're going to make a total of three. And save. Now I'm gonna go File Save As, and I'm going to save this as brush1. So you guys have not only the exported PNG, but the image that it comes with. Now, what I'm gonna do here, I'm going to grab my eraser and I'm going to just scorched earth. Now remember which layer I'm erasing. It's the pixel there, right? I kept my inversion, I kept my pixel layer. I'm good to go. Let's change up the brush now. Let's go ahead and grab, save this one. All right, I'm going to come up here, and now you'll notice this one has some grace. Alright, I'm gonna use my Wacom again. And now would it be pressing? Ok, yeah, this one's going to be nice. Okay, and I'm going from the top to the bottom. And now notice here that I'm going to double-tap on some areas here to give them a little bit more opacity than others. Now you can do this with any type of brush. I wanted to do this one because this one has some really cool texture to it. Now we're going to come up to our selection tool. We're going to come to file. We're going to export, We're going to P and G, and we're going to select but the background. I'm going to call this brush to. Alright, perfect. So now we're gonna go ahead and file save as, let's call this brush too. So you have this one. Alright. Now we're gonna make kind of a woodcut brush similar to those gray vet your brushes that we saw in the sets. So to do that, I'm going to come over to my eraser and I'm going to erase this out again. And the reason I erase it out is that just keeps my pixel layer, my inversion consistent is just being lazy. Now for this one, I'm going to come up to my brush and I'm going to go straight up basic, Let's say, OK. I'm just going to grab a basical brush. And notice all I did is I changed over the Size Jitter on it. Ok. Now, here's what I'm gonna do. I'm gonna make sure that my controller on this one is going to be set to the pressure. Now how do I do that? Well, double-click. Makes sure the dynamic is set and makes sure that pressure is set. Alright, cool. Now, here we go. I'm gonna start up here. And we're going to go and we're going to vary the pressure. And we're going to go in a very pressured does dot-dot. Looks pretty darn good. Okay, let's go ahead and increase it a little bit. And again, this is just the style that I like. You don't have to use this style. You can do whatever it is that makes sense to you. And I'm just varying out the pressure a little bit so that I get some good differentiation. Again, you don't need a tablet to do a great brush. It just helps. Alright, grab your Move Tool. Grab your image. That looks pretty darn good. Now what I'm going to do is I'm going to come in and what do you think we're going to do? File export, PNG, selection with the background. And export it will call this brush three. And save Awesome. Let's go file. Save As, and you folks have this now. It'll be in your downloads. Perfect. Alright, let's go ahead and create a new file. And you can make this as big and bold as you want to make it. This is our garbage area, right? Alright, now I'm gonna go ahead and I had previously called this brush set garbage. You could create a new brush set if you want. You could call it paint stroke. So we're going to come in. I'm going to just go ahead and I'm gonna create a new one, create new category. And I'm going to call them, let's call it inking. Because that's my primary goal with this. Okay, fair enough. Done. Alright. Now, what we're going to do now, we're going to make some brushes would come over here. We're going to do to the little hamburger menu. We're going to go make a textured intensity brush. And I wanna start with brush1. Now that doesn't look great, right? Watch this. We're going to turn the brush width up to about 100 pixels. That's a good default. Now, if you want the stroke to be able to be varied, you want to turn in the variance. Look at that, that is a sexy brush right there. And notice my head and my tail areas. And I'm even going to put a little bit of opacity variants on it because I don't want it to go fully opaque, or I don't want it to go fully transparent. That looks pretty good. Let's do another texture density brush. Grab your brush to now how does this change? Let's make this one also 100 pixels. And let's throw some size variants on this. That looks pretty good. And I'm going to try what happens if I mess with this part over here. I'm going to bring this tale in just a little. I'll try it if it works out. Awesome. If not, doesn't change anything. And close. And lastly here we're gonna do this one, textured intensity, brush and brush three. That one is pretty cool. Now I'm gonna keep that at 64 pixels, I think. And I'm not going to put a size variants on it, but I might put a little bit of opacity variants to it. All right, now I could take the tail and the head in on this one, but I don't think I want to. If you have some really artistic tail and head there on this side. Sometimes this makes sense. I personally don't like to do that very often for the reasons I mentioned earlier in this course. Alright. Let's add a little bit of size variance to it, right about there. Alright? So the good news is, we're gonna come down here. I'm going to export these brushes and you're going to have them, I'm gonna call this inking brush set. You're going to have this one so that you can import. And by the way, to import coming into here and import the brushes. And now you have my set. Now, I want to take this stroke off my workspace. And the way that I usually check these is I start with a pen stroke like this. And we see what happens. Alright. Now you'll notice that these are tapering. Well why? Because when you work with the pen and I'm using the mouse, you're not going to get a good pressure based temper. So what you're going to have to do is you're going to have to use the Stroke panel. So we're gonna go to View studio. Let's find the Stroke panel. And now with the line selected, let's go ahead and double-click the stroke profile. And let's turn that thing down. All that is sexy. That is nice. Now, you could turn that down a little bit here. Yep, that looks pretty darn good. Now, how do you do this right, and make it look like it's supposed to show up. If you come down to the vector brush, what's going to happen now? I'm gonna switch over to my Wacom. I've got this brush selected. Now, light pressure. Alright, that's looking pretty darn good. Go ahead and delete that out. Alright, now, why isn't that working? Why isn't it tapering? This is something you have to pay attention to. When you work in the vector brush persona, you're going to want to change a controller to the brush default. Now, notice here I get really good thickness, so I'm barely pressing, pressing heavy, pressing light. You would be shocked how many vector artists do not know how to set up their brush. So if you're not getting the results you want with your brush right here, make sure you go to Brush defaults. Now. Let's go ahead and check this one. Now what I'm gonna do, I'm just going to use that. I'm going to plop that in just like that coming here. That is a nice looking inking brush right there. And then I'm gonna check this. Now. Why didn't this taper? Because even though I have it set to brush default, notice that there's no size variants in the default. So if you want to be able to taper the stroke with pressure or velocity, makes sure that that is selected. Because you see here, as I pull this over, even though I'm pressing various areas, it's not changing any of the stroke parameters y because the brush default is set to the controller. And I don't have any real size variants set. So that's why. Alright, so that's a little bit on how to make brushes now from stagnant patterns. And you have all of the brushes that we created in this lesson. So the good news is you're well on your way. Let's go ahead and apply these things over in an actual project. I'm gonna use this brush said by the way, in the next project. So definitely download it. Alright, we'll see you the next one. 17. Applying your vector brushes in a real life project : Already folks and welcome back to affinity. Now it is ink October here, Fink October, whatever type of art tube or you want to call it, everybody has done some sort of thing here in October. Now, if this finds you in January, if this finds you and June, Awesome, same rules still apply, right? I am traditionally in Illustrator. And one of the things that I like more than anything when it comes to Affinity Designer is inking. I use inking for say, procreate. I like doing it in Affinity Photo and vector for Affinity Designer is one of the things that it does really well for me. I love making these types of brushes. So what you've got in front of you here is a file that I did from about a year ago. And this folks is what a vector piece of art looks like before you apply brushes. So you might not like it, but this is what peak performance looks like. Now, the thing that people get held up with is they think that the vector art has to be perfect and it comes out perfect. No, a lot of times you will do these little squiggly lines and then adjust based on your brushes. So I've included my brushes here. They're called inking. You've got them in your downloads. So if you want to follow along with mine, you are more than welcome to. If you want to do your own, you are also more than welcome to. Now, I don't have time in a class like this to go through every single line. So my traditional way that I ink is I lay out all of my rough lines, right? So you see that there's one of my vector lines. There's another one of my vector lines. And so I really lay down the basic fundamental shapes. And then after I'm done with this sort of fundamental shape, I go through and I add in the different brushes. So what I'm gonna do, I'm gonna use the brushes that we created. I'll make some modifications to my line widths and such. So you get an idea of how to use the tools that you actually made. So become down to layers. I've divided this into two layers, cross bones and skulls. Alright? So if we come down to the skull, alright, you had all sorts of curves, right? All the curves. So what I'm gonna do, I'm going to create a general overall rule for my Skoll Group. I'm going to come over to my school group. I'm going to come over to the brushes, pop those into existence. Now, notice that this just went absolutely haywire, right? That's because I'm running a 100 pixel stroke width. So the way that we're gonna do this, once we get all these strokes in here, we're going to bring this down until we get it kind of where we want it. Alright, now you'll notice that while I do have some issue here with the brush where I've gotten a little bit of taper. Remember we did set the size variance. It didn't transfer over to here. That's because we've gotta set the pressure curve because all we did is apply it over to some lines. So let's go ahead, set the pressure curve. And now that the pressure curve is said, let's go ahead and kick this up a notch. Okay, now, this is where it gets a little bit weird. There are lines that you're going to want to make a little more pronounced than some others. So what I will do now I'll come over to my move tool. And I want this line on the outside to be bigger than the rest. So I'll come over here. And I will adjust based on this line. Now you'll see where we have some overlap, where the change in the pen created some issues with my design. So what I might have to do, and this is just a fact of life, is I might have to come over and make some subtle adjustments to the way that my line is behaving. Now again, I don't have time in this class to go through and do every single line. But I wanted to show you how your brushes will impact your art. And I wanted to give everybody a uniform way to make this happen. Now if you don't like this brush, you can obviously change over to one of your brushes. You can obviously change over to another brush. And for this outside line you see how on the end here it gets kinda tapering. I'm going to come down here. And for this line and this line only ongoing to bring back some of the thickness. Yeah, that one's kind of cool. Alright, so that looks pretty cool actually. Now you see where the nose is, I'd obviously make some more adjustments. And over here in the eye sockets, you get the idea. Now let's go to the cross bones and let's do another type of brush. And you can very different brushes. I have no issue with that. Let's go ahead and go to cross bones. Let's go ahead and with a cross bones group selected, let's grab this brush. Now it's gonna do the same thing. The behavior is exactly the same. Let's go ahead and bring that down. Now you see I, that gives it a little bit more painterly swipe to it. And I'm going to do the same thing here with my taper. Alright, looks pretty good. Now, if I wanted to, I could do certain types of shading here in the skull for this one, it may not make much sense, but I did want to give you a couple just examples of how you might augment with this third and final type of brush. Alright, who? It's not move that around a. Alright, there we go. Now, what I'll probably do, let's go ahead and zoom in here. This is a great opportunity to use this woodcut. I'm gonna come down to my vector brush and the woodcut I'm going to turn down a little bit. I want to make sure that I'm in the cross bones layer. And there's my woodcut. Now, what am I gonna do with this now? Let me go and I'm going to move it. And then I might come down here. And I might adjust it ever so slightly. I like my woodcut to follow the curvature of the bone. Alright, let's try that. Folks. Vector art is not the most organic type of art. It's definitely not as free flowing as raster. So you may have to adjust and do what you need to do. Now with this, let's go ahead and I want to show you this one more time because I don't want you to be frustrated with this. Kinda down to the curve. I'm bringing it into the cross bones. But now watch this because I'm using my vector brush. It does not matter how much I change the stroke profile. It will not work. Why? Because in the brush we do not have the size variants applied. See how the size variants is very, very minimal. So you're going to have a little bit of problems with that. You can of course come in and change your size variants. And now from here, if we reapply the brush, this should work. Now if I come in, here we go. Alright, just like butter folks. Alright, now, why did I do this for him? Why did this for you? Because I want you to have one set of known brushes. Secondly, I want you to have a known image so that you can test your brushes in a way that doesn't add the art in as a variable when you're trying to learn brush creation, I'm gonna go ahead and send this up a little bit better. So let's go ahead and call this one here. Understand what I'm trying to do. I'm not teaching you how to draw vector. I'm teaching you how to apply your brushes to an existing piece of vector art in an attempt to get you comfortable with the brushes that you're creating. Alright folks, let's go ahead and call this one. 18. Applying your vector brushes in a real life project : All right folks, welcome back to Affinity Designer. Now, I wanted to give you a project to kind of step through as we go through the first part of this Illustrator style course. So I wanted to kind of give you the raw line art for an original design here. And this is the very traditional snake head with a dagger, very traditional American tattoo style stuff. So I thought that this was a good one. And now let's go ahead and explore the Layers panel for just a second. What we've got, we've got a rogue curve. It looks like. Let's go through it and throw that in. We've got the snake here. And so we've just got a common line structure, right? It's just a series of curves. Now, the way that I tend to work when it comes to vector, I stretch out my design, I sketch it out, I stretch it out. I a lot of times don't use anything but the pen tool. And two points, because I find that a lot of times the pencil tool creates too many nodes. That's just my preference. You have your own way of working. So once I've got the basic sketch out, what I tend to do then is I will go to my brush and i'll try different line weights. Now for those that have taken other classes of mine when it comes to illustration, as a tattoo artist, the line weight is going to tell the story of what is important in the photo. So if I'm working in this illustration, let's say, and I'll just show you how this works. I've included my seventh season studios inking starter pack, and I'm going to be using this brush at 79 pixels. So if I come here, let's go ahead and grab my move tool. And I click on the outer area and I pop this thing into existence. You'll see how this line is a lot thicker than the other lines around it and it's really telling the story. So a lot of times what I'll do is I'll pick the lines that I want to be present in my piece and i will explode them out and make them thicker. Now that's a little bit crazy, right? Let me show you what I usually do. Alright, so I go through and I pick the sides of the image here that I want. But now I know 79 pixels is a little bit too big, so I'll come up here and I might want to shrink it down to, let's do 50. Ok. Now, you try and mix them with a slider. I'm just going to type it in the box. I think 50 is the right answer. So before I go too far, I'll change all of these over to 50. Now, I certainly don't want to be doing this with every single line that I'm working with. So what I'm gonna do after I get these first couple of 50, I'm gonna go ahead and switch over my brush with to 50. And I'm gonna do all of my outside lines. So let's go ahead and do that. Clicking here, go to 50. And enclose. Alright, so now let's grab some of those other outside lines. There's good outside line and pop. There's a good outside line along the jaw. Pop that in. There's a good outside line on the dagger. Pop that in. And there's no right or wrong answer to which lines you do. I might do some that aren't on the outside. As an example, I want this brow to be present and really something they pay attention to. So I'm gonna put that inside of a dagger. I'll probably put that in there. Throw a couple outside lines. Now, I've tried this before just to make sure that I could do it in this video, let's say. And what I really liked about the dagger handle. I really liked all of the way that I drew these lines with this brush. So I'm gonna go ahead and do this. If you hate it, you don't have to do it. But I really liked how the backside went thick and the front side went thin. Alright, so I think that overall, I'm pretty happy with that. Let's go ahead and grab this outside here. Alright, now, just like we did with the outside, let's grab the fangs too. You're going to want to do the same thing to the inside. Now that's a little bit heavy. Why didn't that work out? Wrong brush and we go. All right. I'm happy with that. Now, you see that these have no line weight, no character know anything. So you can change your brush style if you want. I've included some different style markers. I'm going to keep with the same one, but I'm going to take the inside down to 27. Now what I'm going to do, I'm going to come in here and I'm going to choose these. And oh, I didn't change the brush size. You guys didn't tell me. Alright, close that out. Alright, so now we're going to come in here. I'm going to change all of these overdue 27. Now I know this takes a little bit, but the reason that I do it this way, when you start using these brushes, the way that these brushes might work, you really have to pay attention to where your overlaps are going to be. Because you see here, I might want to change that line ever so slightly. I wanna change this line ever so slightly. So what are the reasons I sketch out my vector first and then I go line by line is because it gives me a chance to check each one of my lines. Make sure they're going to work once the brushstroke is applied. Alright, you don't want to see me do this for 20 minutes. I don't want to watch for 20 minutes. So what I'm gonna do, I'm gonna have the editor go ahead and pause it. We're gonna go ahead and end this one here. And when I come back after the pause, I'm gonna show you the finished piece. Alright folks. So what I'm gonna do here, I'm gonna go ahead and go File, Save As. And what I'm gonna do, I'm gonna go ahead and put this in your downloads for the lined copy. Yep. Alright folks, let's go ahead and get into the next section. We're going to come up with some really cool brushes to do some half tone in this traditional illustration style. All right, we'll see you the next one. 19. Section 3 Introduction to the section : R again and welcome to this section to the course. Now, the last section of the course was vector brushes. In this one we're going to be talking about pixel brushes. So for my Affinity Photo and my Affinity Designer folks, this is where you shine because affinity designer has a pixel persona and Affinity Photo. Well, it's all raster. I'm gonna be showing you how to create pixel style brushes, one from physical media. And we're going to be doing actual physical raster style brushes in this course. Then we're going to be showing you how did you half-tones. We're going to be showing you how to work with different sub brushes were going to be walking me through every aspect to get your brushes up and running. So whether you are in illustration or whether you're a photo capacitor. This is applicable to both areas. Now, later in this course, I do have a section on special effects style brushes for lightening, fog and that kinda thing. So this section is not necessarily for that. This is about how to create some really cool texture brushes and how to work through and create what are called as seamless textures. So whether you're a designer, whether you're in photo, this section is applicable to everybody and this is how to make raster or pixel based precious. Alright folks, that being said, let's go ahead and make some pixel based brushes are at sea you inside. 20. What is a raster based brush and what is it used for : All right, again and welcome to this unit on a raster brushed creation. Now, this is for affinity products in general. Now, in all fairness, I'm going to be using Affinity Designer, but for my photo folks don't tune out yet. Notice I'm in Affinity Designer. And affinity designer has something called the pixel persona. Now the pixel persona is very, very similar to what we find in Affinity Photo. The reason I'm using Affinity Designer is Affinity Designer right here on the pixel persona has less tools. So the way that I want you to think about this, if I can do this in designer with pixel U, inifinity photo, with all the new tools and all of the important tools can do this in photo. So every tool that I'm going to use in this section is directly applicable and 100% correct to Affinity Designer. So for my photo folks and let me just do a real quick comparison here. I'm in the Affinity Designer interface and I've got a brush tool. I'm in the Affinity Photo interface. There's my brush tool. We're also worried easing the shapes tool. Here it is in Affinity Photo. Here is the Shapes tool in Affinity Designer, actually in the vector persona or the draw persona. So we've got Dodge and Burn into the pixel persona. We've got Dodge and Burn here in the Affinity Photo. So weren't pretty good shape. Every tool that I'm going to use is in Affinity Photo. So I am going to be using Affinity Designer though for this tutorial. Now, let's talk about raster brushes. Raster brushes are similar to pixel based brushes. They're not vector. So in Affinity Designer, in the brush tab, all the brushes, our raster. In Affinity Photo, all the brushes are raster. So raster equals pixel. Raster brushes are only in the pixel persona of Affinity Designer. And they're the only brushes in Affinity Photo. Dao. How are they different from vector brushes? To have this discussion, we're going to be working in designer just to show you this, when you think about vector brushes, you think about lines, you think about math, right? So think about this like a string. I'm pulling a string through space, that is a vector brush. And if we click on it and we click on the nodes, you've got nodes. Now how is that different from raster? The way that I want you to think about raster is I want you to think of raster brushes like a cake decorating bag tip, okay? Now I understand that that's going to be a foreign concept. To do this, we're going to pull out the brushes tab. I'm going to go to my, let's go to the inks tab and let's pick on this ink that Dr. bristle. Okay. Now, raster brushes have two distinct things. There is texture and there is nozzle. So the way that I want you to think about the nozzle, the nozzles shape here is the shape of the brush. And one good way that I've found to think about it, if you are familiar with cake decorating, realize the cake tips when it comes to frosting, have different shapes. So this shape, if you were to look down the barrel of it, produces this sort of design, this shape, because it's got all those different iterations, produces a different type of design. So a raster brush, instead of being like a shoelace, is more like a cake decorating tip. And they're all composed of a brush, nozzles and textures. So to get a good brush, you always want to be thinking, what is my nozzle shape and what is my texture? Now sometimes brushes are made just by nozzle shape. As an example, we can come over here to the markers. And when we open this up, we've got just this nozzle shape. There's no texture. But sometimes you will have texture. Now, when we do this, the thing that I want you to do to kind of get comfortable with this, we're going to start right off the bat by making a brush, okay? Now, it's essential when you make a raster brush that you make it similar to the area which you're going to use it. So let's go to New. Let's go ahead and change our documents size over the pixels. And we're going to make a 1500 by 1500 pixel workspace. And I'm going to turn this down to 72 DPI and create, Remember this is our standard brush size, right? And let's go to the pixel persona in the Affinity Designer. And now we're going to make an intensity brush. Now remember the intensity brush. I'm gonna come over, we're going to grab our square. And what does an intensity brush to? An intensity brush works off black and white. We, you remember that from our previous section. Now in your downloads for this section, I've included some standard brush tips. Now these are brushed shapes. I've included this six-pointed star. I've included a circle brush. I've included the diamond brush, and I also gave you a fuzzy circle. What I wanted to do to illustrate the difference between the tip or brushed shape and the texture. I want to work with shape first. So let's do this six-pointed star. So the first thing that I'm gonna do is go to File, Place six-pointed star. Ok, cool. And now let's go ahead and make a brush. We're going to come over here. We're gonna create a new category. Remember, we are in the pixel persona. Or if you're an Affinity Photo, that's the only persona you got really. And then we're going to rename this. And I'm going to call this junk because we are not going to save any of these. Let's come up and let's create a new intensity brush. And let's grab the six-pointed star. Now what just happened? Whoa, Notice that as opposed to vector, it now put the white on the outside. Will what's happening when you do a raster brush, even though its intensity, it is flipped. So what you're going to want to do, and the reason I pulled the six-pointed star out is you want to come over to layers. You want to come over to your inversion, and you invert it. When you do raster brushes here me very carefully on this. Whatever is black will show through. So you gotta go to File export, PNG still. And what we're going to do now, we're going to come down here. And we're going to go to File Export. And we're going to export the entire document. And we're gonna call this six pointed star for raster. Ok, and save. Now let's go back to our brush tab because before this was trash, right? We're gonna right-click. We're going to delete that brush because it's garbage. And what we're gonna do now, we're going to create a new brush, new intensity still. But the six-pointed star for raster. Now look at what just happened there. Alright, now let's double-click on the brush. And let's go to texture. And you'll see the brush nozzle. Ok, looks pretty good. Now, here's the trick. Let's create a new document. Doesn't matter what size. I don't really care. And let's go ahead and draw out a rectangle. And let's fill it red just so we can see this. Well, that is an annoying color right there. Alright. Now, I mean my pixel persona, right? I now grabbed my brush tool. I come over and I click on my Brush and I've got black as my color. Now watch what happens. Bone. You remember when I said it was like a cake decorating tip. This is what happens. Now. Notice, if you were to drag this across the type of line that would be created. This is the line that's created by the tip. So the shape dictates the tip shape that comes out as a stamp in isolation. And it's through putting the stamps together that you get a line. Now let's do another brush and I've included some weird textures. Okay, now I'm gonna go ahead and delete this. Let's make another brush. Come over to brush. Create a new intensity brush. I want you to use the six-pointed star for raster. But now double-click, go to texture. And I want you to hit on set texture. Now I've included a bold texture. Let's go ahead and do that. Alright, ONE just like that. All right, you see what that begins to do to your line? Now let's go ahead and close it. Let's grab the brush. And now we come up with the brush. Remember we haven't changed our color, nothing's changed. And now notice the difference in texture. My friends, this is the difference between your brush shape and texture. Now, we can change texture. Let's go to texture. Let's remove that and let's set a new one. Now this is not designed to be used, right? Other than illustration, this bold bar, it open. All right, and if the bold bars there, what do you think is gonna happen? Well, if we come over to the brush, we bring it up and we thump it down. Now notice what's happening. Remember the bold brush texture here. It's got the white bars, it's got the black bars. And so it's working off black and white also. So where the black is, nothing going on, where the white is shown through. Alright, so let's go ahead and do one more. Go to texture, remove. Let's set a texture, and this time let's do the subtle texture. Close it out. And I know we're not changing scale a texture or any of that jazz. Okay, we're going to move our brush up in size and bone. There's our subtle texture. So this lesson was about showing you what the difference is in tip geometry, tip shape, as we'll call it, and texture. So at raster, brush is only usable in the pixel persona of Affinity Designer. And it is the only type of brush that's available in Affinity Photo and it works separately. So the brush P&G that you would have in vector, you have to invert in order to make it a raster based brush. Alright, let's go ahead and call it on this one. This was a good lesson. I don't want to run this one too long. And in the next one we'll take the next step on raster brushes. See you the next one. 21. Basic Brush settings Part 1 : Now again, now we know what a rest or brush is. We're now going to take a look at the basic brush settings. Now again, this is exactly the same as it is for Affinity Designer in pixel persona as it is for my photo users. So it's all going to be the same. I'm going to be working in Affinity Designer for the pixel persona. Now, we're gonna come over here and we're going to create a new intensity brush. And in your downloads for this lesson, I've put in an oval for brush. Alright, now, you will never make a brush that it's just an oval, but it is a nice way to practice the settings without having to be so committed to the brush. So this is a nice way to explore. This is not a forever brush. Alright, let's go ahead and double-click on it. Alright. Now notice we have here, we've got our trial space. Size is exactly what you think it is, right? Size is the thickness of the brush. So I'm going to set it to say 60 pixels. Okay? Now accumulation, I'm gonna set this to 20%. Now watch what happens down here. We're at 20% and it goes gray. Now the easiest way for me to explain this is to show you. I'm going to grab the brush. I'm gonna raise it up a little bit and I'm just gonna tap it once. Okay. Now you see that that went a little gray but not solid black. Now watch what happens when we tap it again and again and again and again. And much like DJ cathode there and another one. Until you get the black. How many clicks to that take like ten. So if you turn the accumulation all the way up, now you get directly opaque right off the bat. So accumulation is how much darkness or color, let's say if you're using a color laid down every time you click the button. So that's when accumulation does. Now I'm gonna keep that up at a 100%. Now when it comes to hardness, let's just go ahead and delete those out. I'm gonna come down here now we're going to grab the brush and we're going to turn the hardness up to a 100%. Now this is going to be hard to see. You're gonna have to trust me on this. Notice how crisp and this edges here. When you turn down the hardness, now I'm gonna go to 0. Well that's what happens with this edge. Alright. Now I'm going to zoom this in. You can see this at home. This edge where there is hardness turned to 0, is a little more soft. Then is this edge where the hardness is set to a 100%. Hardness has to do with how abruptly the brush stops. If you're doing a painting style brush, you really don't want hardness to be there. You want to very, very low hardness. Now, the thing that I use all the time is spacing. Remember when I said that these were stamps, so each one of these ovals is a stamp. Now, if I come over here and I click and drag. You'll see how it's just connecting these in a line. Now let's move this spacing closer. And now let's move the spacing right on top of one another. And you see there's little reaches right here. See that? Watch this. So if you want your raster brush to focus as kind of a line, let's say you're doing texture arising and you really wanted to kind of work as a texture arise line. Turn your spacing to 0. At 0, this becomes solid. Alright, so now let's take a look at flow. I'm going to double-click this flow is right here at a 100%. And if you click on the pen or I should say the brush tool, notice flow is up here also at a 100%. Flow is different than opacity. Flow is the amount of ink that is put down each time. So if I drop this to 50%, watch what's going to happen. Notice it adjusted the brush. Now I'm gonna close this and we're gonna do this and 50%. So 50% flow, if I add in a couple more strokes, I get a good solid capacity in the middle there. But now, if I move flow up to a 100%, I can also adjust flow from here. So there it is at 50. Now I'm going to close. Notice I get the same sort of situation. Now let's switch brushes and come back. Switch brushes, come back. What's happening to flow right here? 150. You can control flow individually through the context toolbar in the brush menu. Or you can set it in your brush. I by default, if I'm doing photo retouched brushes and such, I'll usually defaulted to around 20%. Very rarely do I ever won 100% flow when I worked with brushes. Now, the other thing we talk about is shape. You can rotate the shapes around in such just like this. So you can change the shape of the brush or you can change the rotation of the brush. Notice because it's an oval, the shape never changes, but rotation because it's an oval, changes substantially. So what happens if I move the shape 23 degrees? Now I have a very different style brush. I rarely mess with the shape at all. My rotation though frequently changes, especially if I'm doing like a calligraphy brush. And then there's a weird thing here, blend mode. We didn't talk about blend modes when we talked about vector brushes. But if you want to set a blend mode for a brush, this is where you do it and the blend mode will come up here in the context toolbar. It, it will be driven by the brush. So if you want that to be the reality, feel free to do that. Now, the last thing here that I personally never use is wet edges. If you're making a painting brush, wet edges allow the paint to build up alongside of the edge. Don't set this in my brushes because I don't know what I'm going to use them for. But if you decide to do that, this is where you can set them to on. Alright, let's go ahead and call it on the General tab here. This oval brush was enough to kinda show this. In the next lesson, we're gonna go through the dynamics. So I didn't want to make a part one and part two to this. This is part one with the general. In the next one, we're gonna go to the dynamics. Alright, see you the next one. 22. Basic Brush settings part 2 : Direct getting, Welcome back to raster brushes. So we're going to come up here and we're just going to delete out what we were working with. We are still working with our oval brush example. So let's go to the brushes and let's turn this flow up to 100% now. Alright, and let's go ahead and change our color to blue. So the first thing we're going to do, when I come over here, I'm gonna make this blue. Alright? Now I'm gonna change my rectangle color also. So I'm gonna come over here to my Layers panel of coming over to the rectangle. And we're gonna make this blue. Let's go ahead and flood fill that. Actually, let's make it black. Alright, good deal. Alright, so we've got our oval we've got the blue paint out. We're ready to go. Yep, that is blue. Now, why is it shown up so bad? Well, we've gotta turn the flow backup. Perfect example of flow. Alright. Now notice this, if I hit my paintbrush tool and I have this brush set to 19% opacity, or I should say flow, what's going to happen? Right? Turn that thing back up there. Alright, let's go ahead and come back into here. Now. We're going to go into the dynamics tab. Now, the dynamics tab is thought of when the brush is in motion. So there's something called the jitter. Jitter is how they described the motion of the brush. So Size Jitter. As an example, this is similar to taper in the vector brushes. So if I have a brush and I'm going to swap over to my Wacom for just a second because I need to explain this to you. If I have a pressure sensitive device, like a Wacom, the jitter is how much variation there is. So if I come in here and I press, notice this press, no pressure, pressure, that Size Jitter. If I crank that to 0, it doesn't really matter. I can press all day long in different various degrees and it's never going to change. Now, there's also accumulation jitter. Now by default, the controller is going to be important here. Notice my sides was set by pressure. Accumulation, right now is random. So watch this. Sometimes it's good, sometimes it's not. You see those areas there where there's low accumulation. I changed that to pressure. Watch what happens. Little pressure, light accumulation, a lot of pressure, really opaque. Little pressure, little accumulation. So you have two pieces. There's the amount of accumulation. Because if I crank this up to Andrea and I don't put a lot of pressure on it. I'm not gonna get a lot of accumulation. I'll go all the way to 0. So this is the amount of accumulation variance. Think of the jitter is variance, and think of the controller as the thing that controls the variance. Now I'm gonna come back up here. Let's take a look at flow. Flow, same thing. Now random and will put pressure down. Now again, if you're not using a pressure sensitivity device, you will get no flow changes. And then there's rotation. Now this is gonna do some weird stuff. Notice that it just changes the rotation arbitrarily, crazily. So if I want a little rotation, I can keep it small. If I want a lot of rotation, I keep it big. So if you want these things to only shift a little bit, you might turn your rotation down. I'll tell you the only time I use rotation is when I'm making like light brushes, because sometimes it is really cool to have that light come off in different ways. And then you've got scattering. This is used for what are called particle brushes. Like if you wanna do bouquet. So let's do a bouquet brush. We're gonna go ahead and we're gonna make that rotation jitter random. We're gonna make the Size Jitter random. And then we're going to scattering the X and the Y. Okay, you see how this looks like grains of rice thrown around everywhere. All right, watch this. Now I'm going to crank this up, big change up my yellows. Okay, now notice there I've got the accumulation jitter up, but I want the food. Oh, way down there we go. The textbook case of too much flow. Alright, so let's do this now. I'm on my Wacom again. You see how now I can press a little harder. Now, of course, the oval shape is not ideal for the book A, but you get the idea of how this can be used for bouquets style brush. You can then change the blend mode and you've got one you can Riley du, right over top of that image. Alright, so we got the hardness, got the shape. Now the interesting one here, this is one I rarely use because I don't tend to work a lot in color. But if you're gonna paint, this one might be interesting for him. This is called the huge inner. So when you turn up the huge inner, let's crank it up to a 100. And let's make this a light-blue. Okay, now watch this. If I now come in and I changed the huge iter and see how it changes to every conceivable colour. It's changing. The color. Hue is synonymous with color. So even if I click on it a couple times, I get random color. You can also change the saturation. So there are times or to be more saturated than others. And lastly, you can change the luminosity. So there are times where it will be brighter. All of these will come together to create different brushes. The reason why I wanted you to work with just the same over that I was you should not be trying to troubleshoot tip and texture at the same time is getting to know these brush settings. But all brush settings have jitter. And jitter is synonymous with movement. And these things control the movement. The last thing that I want to show you, let's say you want to control size by pressure. You can click here and you can change the pressure curve. So you can change if you apply a little pressure, does that become a maximum size? Or if you apply little pressure, does it become minimum size? So every setting has a curve. Every setting has a list of controllers. It's up to you to decide which you want to use. We've already covered things like texture and nozzle shape. We'll talk about these settings a little bit more as we go in. And then I've got an entirely separate session here later in the raster brush piece on sub brushes because that is a completely different beast. Alright folks, I think we're good on this one. This is the part to, let's go ahead and get into creating some of these really cool textures and rushes for Illustrators are, I'll see you the next one. 23. Where to go to get images for raster based brushes : Alright folks, let's go ahead and get back after it. Now. We're gonna go ahead and I'm gonna show you a couple different places you can go to get textures for your raster based brushes. So first and foremost, the place that I would recommend you go is a free site similar to Pixabay, peck cells on splash. All of these places have textures. So when you go up here, go ahead and just type in texture. And you'll see there are 41 thousand free images of textures. So whichever texture you want to use is very, very possibly on one of these styles sites. Now, there were some that work better than others. For raster based brushes. I wouldn't do the brick walls or the wood right now if I'm doing compositing and I'm doing mockups. Absolutely. This one here with the textile is an interesting one, adds is this old paper texture. So you can go through and you can find some really cool textures to use in your brushes. Now the trick is, many of these are not necessarily seamless. So you're going to have some issue with the seamless piece. But for the purposes of a raster textile Brush, you're not going to need to do that. Now, when we go through and we look at some other sites, I'm just going to show you an example of one. This isn't one that I endorse. This isn't one that I necessarily use all the time. While the textures has some really cool, seamless textures that you can download. So you can find dedicated texture based sites. And here's a spoiler alert. Seamless textures are used in the digital 3D world. And so if you typing seamless texture, you're gonna find a lot on 3D sites that will already have the seamless built and baked in. Now. One, you can use the free sites. Secondly, you can use the paid sites, let's say, or those that have the free downloads. But one of the most important things that I use to differentiate my work is I use my camera. So these are pictures that I took when we went through Chi